In genre called "western" which is also history in America, women is depicted as small supporting role or object through male gaze. "Meek's Cutoff" is ambitious & beautifully sublime film which retells western/history by perspective of women peripheral & abused. Maybe because of this, Reichardt becomes one of most important director in the world. OVERWHELMING.
A sparely majestic and coolly controlled piece of work. Kelly Reichardt described her decision to shoot in 1.37:1 as a reflection on the historically-prevalent bonnets that adorn her female characters, and how they restricted peripheral vision. Metaphorically, the choice's power doesn't end there. The landscape sprawls out of frame, as do worldy complexities of race and gender the ensemble are too stubborn to grasp.
Bonnets cover the faces of the women. The wind overcomes characters' humble voices. This is a mostly successful experiment in distance, slow montage, and sound design. Consider that water, the chief goal of their rambling search through the desert, will only serve to suspend their long, endless journey across the desert. Loved the right-to-left motif; formally eastern, literally western. impressive minimalism, then
beautiful film about dirty beautiful things~~ideologies grubbily rearing their heads, to hope and desire, to be gobbled up by nature and to lose your manifest destiny to it. Lotsa people in ratings calling this film a western which I don't really think it is, it seems to me to be the gritty foundation that the west was built on
Probably one of the most subversive films I've ever seen. It ended, I was achingly disappointed, and then realized Kelly Reichardt purposefully whizzed the ball right over my head. My hair tingled. I felt it, but I never saw it. If you want the cliffnotes action version, watch the beautiful trailer on repeat.
Um dos melhores westerns que já vi, retrata a aventura da conquista de uma terra nova sem artifícios ou falsos heroísmos. Através de um argumento inteligente e de uma linguagem simples, verdadeira, Reichardt apresenta a solidão essencial a cada indivíduo, sempre dividido entre as suas convicções pessoais, a sua natureza, e a necessidade de se integrar no grupo, na sociedade, e actuar de modo cooperante. Ou conivente?
No tension, no emotional engagement with or between characters. No humanity. The desert setting needed to become a character, given the film’s focus on it, but it’s never utilised creatively. The ending might have been good if I was in any way still invested. Lacks the mystical qualities of great allegorical films and the authenticity of my favourite low key no-narrative films. Only interesting thing is vague subtext
"What does the earth say? I don't know. What does the sky say? I don't know. Who are these people? I have no idea. This still might be just a dream. I'm not sure. If only my brother were here I would have someone to talk to. Brother moon, you're very quiet tonight. You're no help at all." - Meek’s Cutoff’'s Mysterious Indian, Translated, Slate.com
Now this is a film. Beautifully captured, great camera work and astonishing use of colors. You don't feel slow parts because even when the camera wonders there's something meaningful going on; you can see it in the duration of the gestures. It is without a doubt a great cinematic experience and a insightful story. Great ending.